Fleur d'Aiglent from the collection of Romijn Art

Fleur d'Aiglent, 1896

Lithograph

Signature: In plate and hand signed by Paul Berthon

€995

Available

Final state of an edition of 100 copies signed by the artist.

This print is one of the 6 prints made for the "6 flowers" series. This lithographed series is the first produced by the artist (he will produce others later).

Learn more about the lithographs of Paul Berthon

Paul Berthon: "In general, I draw directly on the stone after massaging the general color effect on a sketch. Then I draw a tinted proof of the outline; then, depending on the result, I keep the second color or I modify it and on the second proof, I look for the effects of the other colors, and so on. It often happens that I completely modify a first conception of the composition, but on the other hand, I get the effects I want and working the stone myself, I can control everything as I see fit. "

After finishing his work on the stone, Berthon drew a few proofs in black, which he called the first state; then he printed the final report in color. The size of each edition was in general one hundred proofs, signed by the artist in ink or pencil, and two hundred unsigned proofs to which a lithographed title was often added under the image. Some lithographs in vertical format were signed and decorated with a small lithographed motif in the large right margin, the plate being printed off-center.

(Source: "Berthon et Grasset", book by Victor Arwas, published by Academy Denoël)

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About the artist

Paul Berthon

French

1872-1909

Paul Berthon began to study painting in Villefranche. From 1893 he settled in Paris and took courses there at the École Normale d'Enseignement du Dessin. There he was a student of Luc Olivier Merson and the Swiss Eugene Grasset, a pioneer of modernist illustration. He studied drawing and decorative arts, but it was his powerful line engravings and naturalistic details that stood out in his work. Like Maurice Pillard Verneuil, his early works (circa 1896) showed the influence of his teacher Grasset.

Berthon then developed his own style based on compositions of sharp lines and contours and a palette of ochre, green and pastel yellow. He studied Japanese engraving and the interpretation of flora in French medieval art. His production was mediocre, he made posters and what he called panneaux decoratifs, compositions in which he uses modernist language. He used lithographic, chromolithographic (at Chaix & Cie) and xylographic techniques. He also designed furniture (exhibited at the 1895 Salon), porcelain for Villeroy & Boch (late 1890s). In July 1897 he illustrated the famous cover of the magazine "L'Image" with a woodcut.

Additional Details

Additional Artworks

Still life study & the female body #08, 2024

Still life study & the female body #011, 2024

Twilight Reverie: 'The Last Sunset in Pompeii', 2023

The Little Reader, c. 2021

An unspoken dialogue, 2021

Madonna of the Carnation, after Leonardo da Vinci, c. 1970

Serenity after Edgar Maxence, c. 1912

Phalène et Feux follets, after Ludovic Alleaume, c. 1900

About the artist

Paul Berthon